News and events
Biography, background, press, and tidbits both musical and nonmusical
Five shows I've written, including one that ran Off-Broadway in 2006 and one currently in development
The Chagall Suite
A commissioned 8-movement piano piece inspired by Marc Chagall's artworks, and a tribute to Chagall and Elvis
Hear my music on this site and buy my recordings
See my ideas regarding musical direction, see my resume, or let me coach you for auditions and give you accompaniment tracks to practice with
Send me a recording to create sheet music from, or have me transpose or arrange a song or instrumental work
Read accounts of my long-term trips and my experience on the Fosse tour
Subscribe to receive news and travelogues
For musical-theatre productions
The role of musical director of a full-scale production is remarkably fulfilling: the electricity fusing together vibrant choral harmonies with variegated orchestral sounds, to create a multiple-hour experience for an audience.
With accredited training in orchestral and choral conducting, I have been the musical director of shows with casts of five to 50 and pit orchestras of one to 14. A small cast and pit provide the opportunity for an intimate performance in which the cast members can take some liberties with the music, playing to the audience and their own emotions while preserving the director's and authors' wishes. A large cast and pit combine to create a glorious sound that is many times greater than the sum of its parts.
For solos and small-ensemble songs, my theory is that the cast members should learn the music as written by the composer, but that they should be encouraged to let the songs evolve into their own interpretations, perhaps deviating from the notes and rhythms shown on the page, if appropriate. For large choral numbers, I use the most effective classical-music rehearsal techniques to teach perfect harmonies, augment musicality, and instill confidence in the performers.
For cabaret productions
I have been the musical director of cabaret performances at Don't Tell Mama, the Triad, the Players Club, Dillon's, and Danny's Skylight Room, among other settings. I particularly enjoy these intimate settings, where it's just one or two vocalists and I, and maybe a bass or sax player.
My combined experience in various musical genres has inspired me to create accompaniments that incorporate classical, jazz, and pop styles, as appropriate. My light pianistic touch remains faithful to the composer's original intent and sensitive to the mood that the singer wishes to create.
I believe that each performance should play to, and respond to, that particular audience. When appropriate, tempi may be altered, the volume and force may be changed, and the arrangements may be slightly modified, so that the flow of the entire show creates the best possible experience for the audience and is fulfilling for the singer. No two performances are exactly alike; each performance is a uniquely crafted work of art.